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Plot: Having been accidentally built with an advanced logic circuit, a ‘Monkey Bomb’ anti-personnel device brags that he isn’t going to detonate around the neck of the enemy human he is deployed against but will use the threat of detonation to get out of the war-zone and into a better body. As planned he attaches himself to an enemy solider and uses his ‘tick-tock’ noise as a threat of detonation to ensure he is taken to a safe factory where he can be transplanted into a humanoid robot. En route the Monkey Bomb forces the solider to kill anyone standing in their way, but eventually the recipient body is ready..

Ending:Just as the robot is about to transplant into his new body a commander at his army’s headquarters notices he has failed to explode when deployed and operates the remote detonation. The Monkey Bomb and his nearly-freed host solider are consumed in the massive explosion.

Thoughts: Dave Gibbons 2000AD career is known for two phases, his early work on The Harlem Heroes & Dan Dare and then his iconic work on the initial Rogue Trooper stories. In the period between Dare ending and Rogue Trooper‘s début he would complete a Dredd (The Mob Blitzers, Prog 130), an ABC Warriors (Cyboons, Progs 130-1) and a welcome number of beautifully drawn Robo-Tales of which this the first. Gibbon’s art elevates a fine but simple tale, one marred with a very poor deus ex resolution, into something worth reading many times. The wonderfully titled Revolt of the Tick Tock Monkey Bomb is a real Curate’s egg of a script. It has a great premise, a delightfully mean-spirited protagonist and carries itself entertainingly, but it’s resolution is among the very worst of the genre. The ‘suddenly someone at base remembers to hit self-destruct’ is such a hoary old cliché that the fact the strip has entertained so much until that point makes it all the more disappointing. With a great set-up and central character it is a shame Gary Rice couldn’t think of anywhere else to take the tale. Gibbon’s art is fantastic, and in formal terms a notable change to most of the art so far seen in the series. He uses techniques such as splitting a single image over several frames, removing backgrounds to emphasise emotion, and breakout frames in a restrained and masterly way. As with much of his work there is a convention and tradition evident in every panel, never too grotesque, never too flashy, always a beautiful story-teller. The manner in which he manages to combine modern techniques with a traditional illustration style makes his art very appealing to both reader and fellow-professional. Gibbon’s début on the series is a sign that good times are ahead.

Thrill Power?: A really good tale, another of the gems of Tharg’s back catalogue. The out-of-the-blue ending is frustrating but the Monkey-Bomb has the same malevolent charm as the Robo-Hunter‘s Teeny-Meks, Dredd‘s SAMS and all the other vicious smart-talking explosive robots. It is a grand 2000AD sub-genre and Tick Tock … is, largely due to the beautiful art, a fine entry.